The audio file for this article was produced by the Ceramic Arts Network staff and not read by the author.
My creations blend sculptural and functional elements, inspired by my Korean cultural heritage and the mystical aspects of ceramics. I draw inspiration from Korean fairy tales, folk beliefs, and superstitions. Raised by my grandmother from a young age, I was taught certain habits and rituals to follow. After moving to a new country, I began to realize how deeply her lessons had shaped me, allowing me to find beauty and ancestral wisdom within them. I incorporate elements from these stories into my work, translating them into functional forms.
The technical magic and formal design of my work are strongly influenced by the meticulous behavior of gloop glaze. I use glaze as a material to evoke a sense of visual mysticism, aiming to elicit a “Wow! How is this possible?” reaction from the viewer. Not only do I use this glaze as a decorative finish, but I also integrate it into the structure of my pieces. By working with gravity inside the kiln, I manipulate the glaze to melt and form specific shapes on the ceramic surface. In this way, I allow the fire to form the work, relying on the intuitive properties of the material.
My goal is to share the beauty of Korean stories and inherited wisdom through ceramic pieces that are both witty and visually intriguing, inviting people to use and live with them in their everyday spaces. Through this work, specifically my most recent series, Salty Fairy Danji, I encourage viewers to discover a sense of magic within the mundane.
Concept, Design, and Digital Preparation
My process always begins with drawing. I start by doodling and sketching, developing ideas through repeated iterations while referencing mushrooms and ritualistic objects that inspire me. These sketches help me determine both the form and symbolic direction of the piece.
Once I decide on a final design, I begin creating the original model for slip casting. Depending on the form, I may use handbuilding, wheel throwing, or plaster lathe techniques. However, in my current studio, I don’t have access to a plaster lathe, so I use 3D-modeling software to achieve precise shapes and controlled dimensions. For this particular piece, the form is divided into two components: a vessel and a base. The upper part functions as the vessel, while the lower part acts as the base where the glaze will melt through and connect the two elements. For this series, I designed the vessel to be tall and organic, with a pointed bottom that interacts directly with the gloop glaze. The base is developed as a donut-like form, allowing the glaze to flow through and structurally link both parts.
After refining the digital model, 3D print it to test the scale and proportions. Because ceramic work shrinks during drying and firing, print the model at approximately 1.25 times larger than the intended final size. To ensure durability during mold making, keep the print solidity above 15%; if the model is too thin, it can distort or break under the pressure of the liquid plaster (1, 2). For larger forms that exceed your printer’s capacity, you can print the model in sections and assemble them afterward (3).
Mold Making
Once the model is complete, analyze any undercuts and determine the parting lines for the plaster mold (4). Build clay walls around the model and use a plastic/film sheet to create a wall (which is a minimum of 1⅛ in. (3 cm) away from the model).
Next, mix the plaster using a ratio of 1 part water to 1.4 parts plaster, using standard pottery plaster. After pouring the liquid plaster and allowing it to dry, carve keys to ensure the mold parts align tightly and prevent slip leakage. Before pouring additional sections, apply a soap release like Murphy’s Oil Soap to previously cast plaster surfaces. This process is repeated until all mold parts are complete.
After removing the model, refine the exterior edges of the mold by faceting edges to prevent chipping, sanding the interior surfaces for a smooth finish, and carefully avoiding seam areas while sanding to maintain proper alignment. Finally, rinse the molds and dry them near the kiln for 3–5 days, depending on size and thickness (5, 6).
Slip Preparation and Testing
While the molds dry for a few days, I begin color testing. I typically mix 1%, 3%, and 5% ceramic stains into porcelain slip to test color intensity, sometimes combining stains to achieve specific tones (7).
For slip casting, I often make my own porcelain slip. Begin by breaking dried high-fire porcelain casting slip into small pieces, then soak them in water for a few hours until it becomes a slurry. Pour off any excess water, and mix using a drill mixer while gradually adding sodium silicate, one teaspoon at a time, until the slip reaches the desired consistency. I recommend mixing the slip thoroughly, roughly for over 20 minutes, to improve its quality and fluidity, and sieve before use. To test consistency, weigh 1 liter of slip; an ideal casting slip typically falls between 1700–1800 g (1.7–1.8 kg) per liter.
Slip Coloring and Casting
Once the base slip is ready, prepare the colored slip by weighing stains relative to the slip volume. First, mix the stain with a small amount of water to eliminate clumps, then combine it with the slip using a hand mixer. I am careful not to add too much water, as it can alter the casting consistency (8).
When the molds are fully dry, it is time to begin slip casting. Secure the mold parts using rubber bands or heavy-duty straps, depending on the size. While pouring the slip, slightly tilt the mold to control the flow and minimize air bubbles. Because my forms often trap air at the top, I adjust the mold from a tilted to upright position and gently rotate it to release trapped air (9–12).
I leave the slip inside the mold for 15–20 minutes, depending on the desired wall thickness. For thinner walls, I typically cast for around 15–17 minutes. After pouring out the excess slip, rotate the mold again to prevent buildup in narrow areas, then place it upside down to drain fully (13–15).
Drying time inside the mold ranges from 3–5 hours, depending on humidity (especially longer during winter). Check readiness by feeling the interior and looking for slight shrinkage from the mold edges. Once the piece is ready to be out of the mold, cut the excess clay at the pouring opening (16). To release the piece, I gently tap the mold and disassemble it in reverse order (17). The cast piece is then placed on a sponge to prevent damage while still fragile.
Refining and Surface Decorating
Once removed, clean the mold and begin refining the cast form by trimming seam lines with carving tools, scraping imperfections, and smoothing with a soft sponge (18, 19).
For surface decoration, dry colored slip on plaster to create a clay-like state. Form small spike elements and attach them to the surface using scoring and slip (20–22). Then, use a slip trailer to apply small dots across the surface, building up a detailed and tactile skin (23). Use the same process on the donut-shaped piece.
After this stage, the piece is left to dry completely before bisque firing.
Firing and Glaze Work
The work is bisque fired to 1742°F (950°C). After firing, sand any remaining imperfections (24). Next, you need to create a custom “gloop” glaze—a thick, viscous glaze that melts at high temperature but retains structure. Unlike traditional glazes, it does not fully flatten, allowing it to function as both surface decorating and structural material. You can use this glaze to connect separate slip-cast components, create flowing, organic forms, and add weighted, dangling elements to surface details. The glaze is mixed to a clay-like consistency so it can be sculpted before firing. It can be combined with high-fire stains (25, 26) to create colored accents that melt and drip over spike forms (27).
Final Firing
To control how the glaze flows and to connect the components, fire the work upside down to cone 6. To align the two components and allow the glaze to melt from the top piece onto the bottom piece, use kiln furniture to hold them securely in place. Adjust soak times as needed, depending on how you want the glaze to behave and settle.
After firing, allow the kiln to cool below 212°F (100°C) before unloading. At this stage, the piece is complete.
Gloop Journey
The way I work with gloop glaze is highly experimental. It comes with a high failure rate, but it is also incredibly exciting and versatile. I first began using this glaze four years ago while studying at the Royal College of Art in London. I discovered it through a recipe on Glazy (glazy.org) and was immediately fascinated by its behavior.
I started by experimenting, creating playful forms, firing at different temperatures, and testing it with various clay bodies. Through these early trials, I realized that the glaze could potentially be used to connect separate ceramic components (28). While this idea felt new to me at the time, it is in fact a method widely explored by many ceramic artists around the world. From there, I began adjusting the recipe, refining firing schedules, and rethinking how forms could interact with the glaze inside the kiln.
For my graduation project, I wanted to create a cohesive and thoughtfully designed piece that also functioned as a vessel. I developed a form where the upper section acts as a vessel and the lower section as a donut-shaped base, allowing the glaze to melt through and connect the two parts. The process involved a great deal of trial and error. In reality, nine out of ten pieces failed, by cracking, breaking, or simply not behaving as expected. It was a stressful and demanding process, but after several months of persistence, I finally achieved the result I had envisioned. That moment was incredibly rewarding. From there, I began producing a series using this technique, which I named Salty Fairy Ring vessels (29).
After graduation, I continued to develop this approach, experimenting with different forms, scales, colors, and clay bodies. Some pieces were successful, while many others were not. Now, after nearly four years of working with this glaze, I feel I understand it to some extent, perhaps around 65%. There are still unpredictable outcomes that arise, and while they can be frustrating, especially when a piece does not meet my expectations, I have come to accept this unpredictability as part of the process. In many ways, it is what gives this technique its unique charm. When it works, the result feels especially meaningful.
I continue to expand the Salty Fairy Ring series, exploring new forms while maintaining the same fundamental firing approach. At the same time, I believe there are still more unexpected and exciting possibilities within this glaze, and I am eager to keep pushing its limits.
the author Jihyun Kim is a ceramic designer from South Korea whose work melds tradition with enchantment. Holding an MA in Ceramics & Glass from the Royal College of Art, UK, her work has received international recognition and has been showcased at esteemed events including Collect 2026, London Design Festival, Milan Design Week, and the British Ceramic Biennial. To learn more about Jihyun Kim and her work, visit jihyunkimceramic.comor follow on Instagram @kimkim_ceramic.
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The audio file for this article was produced by the Ceramic Arts Network staff and not read by the author.
My creations blend sculptural and functional elements, inspired by my Korean cultural heritage and the mystical aspects of ceramics. I draw inspiration from Korean fairy tales, folk beliefs, and superstitions. Raised by my grandmother from a young age, I was taught certain habits and rituals to follow. After moving to a new country, I began to realize how deeply her lessons had shaped me, allowing me to find beauty and ancestral wisdom within them. I incorporate elements from these stories into my work, translating them into functional forms.
The technical magic and formal design of my work are strongly influenced by the meticulous behavior of gloop glaze. I use glaze as a material to evoke a sense of visual mysticism, aiming to elicit a “Wow! How is this possible?” reaction from the viewer. Not only do I use this glaze as a decorative finish, but I also integrate it into the structure of my pieces. By working with gravity inside the kiln, I manipulate the glaze to melt and form specific shapes on the ceramic surface. In this way, I allow the fire to form the work, relying on the intuitive properties of the material.
My goal is to share the beauty of Korean stories and inherited wisdom through ceramic pieces that are both witty and visually intriguing, inviting people to use and live with them in their everyday spaces. Through this work, specifically my most recent series, Salty Fairy Danji, I encourage viewers to discover a sense of magic within the mundane.
Concept, Design, and Digital Preparation
My process always begins with drawing. I start by doodling and sketching, developing ideas through repeated iterations while referencing mushrooms and ritualistic objects that inspire me. These sketches help me determine both the form and symbolic direction of the piece.
Once I decide on a final design, I begin creating the original model for slip casting. Depending on the form, I may use handbuilding, wheel throwing, or plaster lathe techniques. However, in my current studio, I don’t have access to a plaster lathe, so I use 3D-modeling software to achieve precise shapes and controlled dimensions. For this particular piece, the form is divided into two components: a vessel and a base. The upper part functions as the vessel, while the lower part acts as the base where the glaze will melt through and connect the two elements. For this series, I designed the vessel to be tall and organic, with a pointed bottom that interacts directly with the gloop glaze. The base is developed as a donut-like form, allowing the glaze to flow through and structurally link both parts.
After refining the digital model, 3D print it to test the scale and proportions. Because ceramic work shrinks during drying and firing, print the model at approximately 1.25 times larger than the intended final size. To ensure durability during mold making, keep the print solidity above 15%; if the model is too thin, it can distort or break under the pressure of the liquid plaster (1, 2). For larger forms that exceed your printer’s capacity, you can print the model in sections and assemble them afterward (3).
Mold Making
Once the model is complete, analyze any undercuts and determine the parting lines for the plaster mold (4). Build clay walls around the model and use a plastic/film sheet to create a wall (which is a minimum of 1⅛ in. (3 cm) away from the model).
Next, mix the plaster using a ratio of 1 part water to 1.4 parts plaster, using standard pottery plaster. After pouring the liquid plaster and allowing it to dry, carve keys to ensure the mold parts align tightly and prevent slip leakage. Before pouring additional sections, apply a soap release like Murphy’s Oil Soap to previously cast plaster surfaces. This process is repeated until all mold parts are complete.
After removing the model, refine the exterior edges of the mold by faceting edges to prevent chipping, sanding the interior surfaces for a smooth finish, and carefully avoiding seam areas while sanding to maintain proper alignment. Finally, rinse the molds and dry them near the kiln for 3–5 days, depending on size and thickness (5, 6).
Slip Preparation and Testing
While the molds dry for a few days, I begin color testing. I typically mix 1%, 3%, and 5% ceramic stains into porcelain slip to test color intensity, sometimes combining stains to achieve specific tones (7).
For slip casting, I often make my own porcelain slip. Begin by breaking dried high-fire porcelain casting slip into small pieces, then soak them in water for a few hours until it becomes a slurry. Pour off any excess water, and mix using a drill mixer while gradually adding sodium silicate, one teaspoon at a time, until the slip reaches the desired consistency. I recommend mixing the slip thoroughly, roughly for over 20 minutes, to improve its quality and fluidity, and sieve before use. To test consistency, weigh 1 liter of slip; an ideal casting slip typically falls between 1700–1800 g (1.7–1.8 kg) per liter.
Slip Coloring and Casting
Once the base slip is ready, prepare the colored slip by weighing stains relative to the slip volume. First, mix the stain with a small amount of water to eliminate clumps, then combine it with the slip using a hand mixer. I am careful not to add too much water, as it can alter the casting consistency (8).
When the molds are fully dry, it is time to begin slip casting. Secure the mold parts using rubber bands or heavy-duty straps, depending on the size. While pouring the slip, slightly tilt the mold to control the flow and minimize air bubbles. Because my forms often trap air at the top, I adjust the mold from a tilted to upright position and gently rotate it to release trapped air (9–12).
I leave the slip inside the mold for 15–20 minutes, depending on the desired wall thickness. For thinner walls, I typically cast for around 15–17 minutes. After pouring out the excess slip, rotate the mold again to prevent buildup in narrow areas, then place it upside down to drain fully (13–15).
Drying time inside the mold ranges from 3–5 hours, depending on humidity (especially longer during winter). Check readiness by feeling the interior and looking for slight shrinkage from the mold edges. Once the piece is ready to be out of the mold, cut the excess clay at the pouring opening (16). To release the piece, I gently tap the mold and disassemble it in reverse order (17). The cast piece is then placed on a sponge to prevent damage while still fragile.
Refining and Surface Decorating
Once removed, clean the mold and begin refining the cast form by trimming seam lines with carving tools, scraping imperfections, and smoothing with a soft sponge (18, 19).
For surface decoration, dry colored slip on plaster to create a clay-like state. Form small spike elements and attach them to the surface using scoring and slip (20–22). Then, use a slip trailer to apply small dots across the surface, building up a detailed and tactile skin (23). Use the same process on the donut-shaped piece.
After this stage, the piece is left to dry completely before bisque firing.
Firing and Glaze Work
The work is bisque fired to 1742°F (950°C). After firing, sand any remaining imperfections (24). Next, you need to create a custom “gloop” glaze—a thick, viscous glaze that melts at high temperature but retains structure. Unlike traditional glazes, it does not fully flatten, allowing it to function as both surface decorating and structural material. You can use this glaze to connect separate slip-cast components, create flowing, organic forms, and add weighted, dangling elements to surface details. The glaze is mixed to a clay-like consistency so it can be sculpted before firing. It can be combined with high-fire stains (25, 26) to create colored accents that melt and drip over spike forms (27).
Final Firing
To control how the glaze flows and to connect the components, fire the work upside down to cone 6. To align the two components and allow the glaze to melt from the top piece onto the bottom piece, use kiln furniture to hold them securely in place. Adjust soak times as needed, depending on how you want the glaze to behave and settle.
After firing, allow the kiln to cool below 212°F (100°C) before unloading. At this stage, the piece is complete.
Gloop Journey
The way I work with gloop glaze is highly experimental. It comes with a high failure rate, but it is also incredibly exciting and versatile. I first began using this glaze four years ago while studying at the Royal College of Art in London. I discovered it through a recipe on Glazy (glazy.org) and was immediately fascinated by its behavior.
I started by experimenting, creating playful forms, firing at different temperatures, and testing it with various clay bodies. Through these early trials, I realized that the glaze could potentially be used to connect separate ceramic components (28). While this idea felt new to me at the time, it is in fact a method widely explored by many ceramic artists around the world. From there, I began adjusting the recipe, refining firing schedules, and rethinking how forms could interact with the glaze inside the kiln.
For my graduation project, I wanted to create a cohesive and thoughtfully designed piece that also functioned as a vessel. I developed a form where the upper section acts as a vessel and the lower section as a donut-shaped base, allowing the glaze to melt through and connect the two parts. The process involved a great deal of trial and error. In reality, nine out of ten pieces failed, by cracking, breaking, or simply not behaving as expected. It was a stressful and demanding process, but after several months of persistence, I finally achieved the result I had envisioned. That moment was incredibly rewarding. From there, I began producing a series using this technique, which I named Salty Fairy Ring vessels (29).
After graduation, I continued to develop this approach, experimenting with different forms, scales, colors, and clay bodies. Some pieces were successful, while many others were not. Now, after nearly four years of working with this glaze, I feel I understand it to some extent, perhaps around 65%. There are still unpredictable outcomes that arise, and while they can be frustrating, especially when a piece does not meet my expectations, I have come to accept this unpredictability as part of the process. In many ways, it is what gives this technique its unique charm. When it works, the result feels especially meaningful.
I continue to expand the Salty Fairy Ring series, exploring new forms while maintaining the same fundamental firing approach. At the same time, I believe there are still more unexpected and exciting possibilities within this glaze, and I am eager to keep pushing its limits.
the author Jihyun Kim is a ceramic designer from South Korea whose work melds tradition with enchantment. Holding an MA in Ceramics & Glass from the Royal College of Art, UK, her work has received international recognition and has been showcased at esteemed events including Collect 2026, London Design Festival, Milan Design Week, and the British Ceramic Biennial. To learn more about Jihyun Kim and her work, visit jihyunkimceramic.com or follow on Instagram @kimkim_ceramic.
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